The wedding gowns of the 1950s were defined by elegance, structure, and a return to traditional femininity. In the years following World War II, fashion turned away from the austerity of the 1940s and embraced a more lavish, romantic style. Brides of the 1950s sought to embody grace and domestic idealism, and their wedding dresses reflected those aspirations.
One of the most iconic features of 1950s wedding gowns was the silhouette: a fitted bodice paired with a voluminous, full skirt. This shape, influenced by Christian Dior’s “New Look” introduced in 1947, emphasized the waist and created a classic hourglass figure. The skirts were often supported by layers of petticoats or crinoline to achieve dramatic fullness. While floor-length gowns remained the standard for formal weddings, many brides also chose tea-length dresses, particularly for afternoon or second weddings, reflecting the growing popularity of more practical, mid-length styles.
Fabrics used in 1950s wedding gowns were luxurious but understated—satin, tulle, lace, and organza were common choices. Many dresses featured long sleeves, high necklines, and delicate embroidery or beading. Lace overlays were especially popular, lending an air of vintage romance to the overall look. Ivory and white remained the dominant color choices, symbolizing purity and tradition.
Veils during this period were often worn close to the head, sometimes attached to pillbox hats, floral crowns, or small tiaras. Gloves and modest accessories completed the ensemble, in keeping with the era’s refined sense of formality. Take a look at these glamorous photos to see portraits of classic models wearing wedding gowns from the 1950s.
Model in wedding dress called “Massenet” by Christian Dior from his Spring/Summer Collection 1950, photo by Willy Maywald in front of Notre Dame Cathedral, Paris
Ann Klem in a lovely wedding dress by Leslie Morris, photo by Lillian Bassman, Harper’s Bazaar, April 1952
Anne Gunning in gorgeous wedding dress- a belted tunic of old lace sparkling with brilliants and paillettes over a full skirt of tulle that sweeps back into a train by Harald, photo by Richard Dormer, Harper’s Bazaar UK, May 1952
Model in a wedding dress in rayon satin, the ample skirt is fully pleated, the bodice embroidered with pearls and brilliants, and veil the dress can be used again for evening by Bruyère, photo by Norman Parkinson, Vogue, Paris, May 1952
Model is wearing a white Brivet embroidered piqué wedding dress, loosely tied in a Ducharne moiré knot in back, by Lucile Manguin, photo by Norman Parkinson, Vogue, Paris, May 1952
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